Mural Painting Of The Mexican Revolution

Mural Painting and Social Revolution in Mexico, 1920-1940 is the first full-length account of this major movement in the history of Modernism. Following the Revolution of 1910, Mexican society underwent a profound transformation in every sector of political and cultural life. Mexican artists participated in this social revolution during a vital two-decade period through public art programmes funded by the government and other institutions. Applying a social-historical methodology, Leonard Folgarait examines this phenomenon and focuses on the mural paintings of Diego Rivera, José Orozco, and David Siqueiros produced during this period. He provides an indepth analysis of the form and meaning of these mural cycles, while documenting the system of patronage, the critical connections between state policy and aesthetics, and the visual strategies devised by patrons and artists in order to maximise the impact of these propagandistic images.

This is a study of the reciprocal relationship between Mexican muralism and the three major Mexican museums&—the Palace of Fine Arts, the National History Museum, and the National Anthropology Museum.

At the time Diego Rivera began painting these murals he was an internationally known artist with his works reproduced in magazines worldwide.

A comprehensive look at four transformative decades that put Mexico's modern art on the map In the wake of the 1910-20 Revolution, Mexico emerged as a center of modern art, closely watched around the world. Highlighted are the achievements of the tres grandes (three greats)--José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros--and other renowned figures such as Rufino Tamayo and Frida Kahlo, but the book goes beyond these well-known names to present a fuller picture of the period from 1910 to 1950. Fourteen essays by authors from both the United States and Mexico offer a thorough reassessment of Mexican modernism from multiple perspectives. Some of the texts delve into thematic topics--developments in mural painting, the role of the government in the arts, intersections between modern art and cinema, and the impact of Mexican art in the United States--while others explore specific modernist genres--such as printmaking, photography, and architecture. This beautifully illustrated book offers a comprehensive look at the period that brought Mexico onto the world stage during a period of political upheaval and dramatic social change. Published in association with the Philadelphia Museum of Art and the Museo del Palacio de Bellas Artes, Mexico City Exhibition Schedule: Philadelphia Museum of Art (10/25/16-01/08/17) Museo del Palacio de Bellas Artes, Mexico City (02/03/17-04/30/17) Museum of Fine Arts, Houston (June-September 2017)

Between 1964 and 1971, the Mexican mural painter David Alfaro Siqueiros produced The March of Humanity on Earth and Toward the Cosmos in Mexico City, his last major project and the largest mural in the world. This illustrated book mounts a careful study of the painting, which it sees as marking the end of the Mexican mural movement. The main purpose of the book is to place the mural into the social-historical context of the period of its production. Due to this approach, the mural is seen not only as a work of art, but also as a symbol and carrier of Mexican political ideology, especially as it concerns the government's attempts to continue presenting the Mexican Revolution of 1910 as the source and basis of contemporary and future social, political, and economic policy. Professor Folgarait's book provides a fascinating case-study highlighting the conflict of modernistic and naturalistic trends in art, and makes an important contribution to the study of Mexican art of the twentieth century and to the general topic of the relationship of art to politics.